Slowing Down: Liquid Territory
Installation with a series of gouache paintings on paper (12 paintings – dim: 28 x 38 cm, and 22 – dim: 38 x 56 cm) supported on wood (wooden shelves, wooden sheets and wooden sticks – all painted) and a video projection.
MMC Luka, Pula
Curated by Branka Benčić
Photo: Matija Debeljuh
Body rolls from one side of the paper to the other – from bottom to the top. The outline of the body is electric blue – it’s blue on the top of another blue. There is no floor, no specific place, just paper. Time is stretched, slowed down, almost still. We see pauses in one continuum, the in-betweens, instants that usually slip away from the eye. The sequence examines minutiae, a non-event, the gradual move of a seemingly sleeping body. While there’s an idea of things being slowed, there’s also a sense of ‘real-time’ (think of the small moves a body might make whilst sleeping for many hours). Sleep is increasingly hard to come by, and here its re-presented moment by moment, drawn-out, broken down, pro-longed. The pieces might in some way circle action – inability to act, refusal to act, immaterial action, inaction, delicate and fragile action, precious and precarious moments that are pre-action.
Floor is covered with layers of drawings supported by wooden sticks. The sticks create a type of architectural structure, support, a large skeleton of drawings. Drawings hover on top of each other, they lean on each other. They bare different coloured marks, fragments of a larger image, or just beginnings or suggestions of a content, traces. Drawings keep together- the structure keeps them together- they can’t be on their own – only together they assemble one whole.
Video is shot from above – a hand continuously brings into the frame different coloured sheets of paper. From time to time the hand makes slight adjustments to the position of the paper and then makes paint marks on its surface. They are similar type of marks to the ones we see on the layers of drawings placed on wooden sticks. Here the video as a time line keeps them together. There is a voiceover. It’s speaks of a space, positioning within a space, the qualities of a movement. At times the voice happens parallel to what we see, sometimes with delays and sometimes slightly ahead, before something occurs.
Time within different sequences is stretched, elongated- it creates niches where one can pause, think and register a movement, making of a mark. Each work within the exhibition deals with a similar concern. The time lapse – the slowing down of a movement within a series, the fragmentation of layers of drawings on the floor, and the continuous attempt to articulate in the video.
In some sense the body of the viewer is choreographed, moved though space in a way that mirrors the body that’s being looked at on the paper. Every step that the viewer makes along a line of frames in a sequence echoes the movement of the figure in the image. Every image that might be looked at is only slightly different from the last (if you looked at series of film frames you’d hardly be able to discern where the change actually happens) and so we’re asked to look closely, carefully. The work insists that we continually return to images that are perhaps at first glance the same. The arrangement of different elements in the space is also about position of viewer’s body in the space – it’s never the same.
Slowing Down: Liquid Territory II
Collage on the wall, cca 250 x 600 cm
(88 mono colour risograph prints, each 20 x 28 cm)
AŽ Gallery – Zagreb
Photo: Boris Cvijetanović